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Ingrid Jacoby


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Piano Concerto No.21 K467
Piano Concerto No.23 K488
Rondo K386

Ingrid Jacoby, piano
Academy of St Martin in the Fields
Sir Neville Marriner

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Praised by The New York Times for her ‘clear articulation … unequivocal phrasing … [and] expressivity’, Ingrid Jacoby’s new recording of Mozart’s Concertos Nos. 21 & 23, complete with the Rondo K386, and accompanied by the internationally celebrated

Academy of St Martin in the Fields conducted by Sir Neville Marriner, follows on from her previous recording dedicated to Mozart Concertos Nos 14 & 17 which received excellent reviews.

International Record Review: ‘Marriner and Jacoby seem to be on the same wavelength… often extremely beautiful’;

Gramophone: ‘a wonderful clarity of finger work’;

Fanfare Magazine: ‘This is Mozart playing on a par with such greats as Rosenberg, Haskil, and Fischer’;

The Guardian: “Ingrid Jacoby is in suitably playful mood, dancing through the finale of the E flat concerto and charming us with the childlike grace of No.27’s larghetto’;

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Piano Concerto No. 21 in C major K467

1. I Allegro maestoso (Cadenza: Ingrid Jacoby/Benjamin Kaplin)
2. II Andante
3. III Allegro vivace assai (Cadenza: Dinu Lipatti)

Piano Concerto No. 23 in A major K488

4. I Allegro (Cadenza: Mozart)
5. II Adagio
6. III Allegro assai

7. Concert Rondo in A major K386 (Cadenza: Ingrid Jacoby)

Mozart: Piano Concerto No. 21 in C major K467, III Allegro vivace assai (Cadenza: Dinu Lipatti)


A suitably majestic but definite tread informs the first movement of the C-major Piano Concerto, Neville Marriner and the Academy of St Martin in the Fields marrying clarity and weight in ideal proportion, graceful yet vibrant. Ingrid Jacoby enters with much style – shapely, secure and clear-cut – in a Classical reading that attractively leans to the Romantic, modulating naturally between the two states, with an amorous and agreeably spacious reading of the ‘Elvira Madigan’ slow movement being especially appealing. In the first movement, Jacoby plays a cadenza by herself and Benjamin Kaplin – thematically related and rather Brahmsian at times – and in the Finale (with a couple of diversionary piano solos along the way) by Dinu Lipatti, which scampers along.
To close, the delectable Concert Rondo (K386), its opening decorated idea perhaps giving Ron Goodwin the cue to write his Miss Marple music for the Margaret Rutherford films. (Just a thought!) This is a wonderful work, with sublime moments, and the performance both charms and touches.
Overall, this is lively music-making, [...] with some old-world charm mixed into the vitality. To add the icing to the cake, the recorded sound is a model of tangibility, naturalness and lucidity.

Review by Colin Anderson in

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